It's Steven's [Sebring] view of what he saw in traveling and working with me. But on another scale, I think the film [Dream of Life] is very humanistic: It touches on motherhood, death, birth, art, laundry, anger against the Bush administration... While I don't think it's the kind of film where one goes to find some of the darker, edgier aspects of life, the film was born of grief.

It will not fall away. Man cannot judge it. For art sings of God, and ultimately belongs to Him.

Not everything we do as artists has deep intent. If we push barriers, that's great, but sometimes we just do our work. Whether we make some kind of statement, consciously or unconsciously, we shouldn't take the innocence away from what we do.

I had gone to Paris to immerse myself in painting and I came back wholly involved in words and rhythms.

What I wanted to do in rock'n'roll was merge poetry with sonic scapes, and the two people who had contributed so much to that were Jimi Hendrix and Jim Morrison.

So my last image was as the first. A sleeping youth cloaked in light, who opened his eyes with a smile of recognition for someone who had never been a stranger.

The film [Dream of Life] is not really an amateur work, despite the fact that none of us have ever done anything like this before; aesthetically, none of us are amateurs.